The circle paintings from the 1980’s were based on a desire to make paintings where no one painting is better or worse than another. The antithesis to the concept of the “masterpiece”.

I always have an idea what the finished painting will look like before I start it, but I start it nonetheless because I want to realize that idea visually.

Each painting is a process and even if the process appears to be the same, each work is different because it starts and ends at different points in time.

Apart from my drawings, my work has rarely been about making a mark and then making another as a response to the previous mark.

Though most of my work has utilized a ruler, I have never considered my work to be about an investigation of lines.

My paintings tend to be highly optical. This is a by-product of the parallel lines, but it is also an intention. I started making the line paintings in 1988 when I saw a man in a sear sucker suit walking up Madison Avenue and I thought it would be interesting to make a work so optical it would be, in theory, impossible to look at. In that sense it would deny its own viewing, something that runs counter to how painting traditionally functions.

I do not identify my paintings with the “Op” art movement of the 1960's.